• The Life of the World to Come

    The Life of the World to Come

    13 of the most intimate and beautiful songs I have ever heard, filmed with equal fragile vulnerability by Rian Johnson, who tones and matches his roughshod single-take approach perfectly, alternately advancing and receding from an almost spiritual John, sitting in the centre of an empty music hall and regularly seeming as though his own songs are pulling him apart from inside. A brutal, emotional, and ultimately cathartic document of what now might well be my favourite Mountain Goats album.

  • The Killer

    The Killer

    ★★★★

    My first classic-era Woo, and it did not disappoint in the slightest. Heavily stylized but far more emotionally poignant than I was expecting, too. There’s a grace and even a gentle touch here that adds a gloomy, existential weight to every fired bullet. And that ending is gutwrenching. Great stuff.

  • Millennium Actress

    Millennium Actress

    ★★★★★

    Satoshi Kon’s masterpiece.

  • Bo Burnham: Inside

    Bo Burnham: Inside

    Almost unwatchable. Burnham gets so wound up in his preoccupation with the idea of this special as an inescapable exercise in self-indulgence that he deliberately trips himself at every turn. In attempting to pre-empt what he perceives as an inevitable backlash at “another white guy whining about stuff” he gets so caught up in his own neuroses that it becomes difficult to enjoy even as a character study of a man relying desperately on his creative impulse to sustain his…

  • First Cow

    First Cow

    ★★★★½

    Reichardt’s best since Meek’s Cutoff. Frequently sublime, muted but moving, and both thematically and texturally rich to the extent that multiple viewings will definitely be necessary in order to fully unpack it. This is probably (definitely?) the best western of the 21st century so far, not least for the way it warmly reflects traditional aspects of the genre without lapsing into mere pastiche or referential puzzle. The two leads are excellent and Reichardt’s direction wisely avoids any tacky eroticism for…

  • Altered States

    Altered States

    ★★★½

    Men will literally turn into a gorilla instead of going to therapy.

  • Promising Young Woman

    Promising Young Woman

    Reprehensible.

  • Nashville

    Nashville

    ★★★★★

    They simply do not get better than this.

  • Femme Fatale

    Femme Fatale

    ★★★★½

    Brian De Palma’s Mulholland Drive

  • Zack Snyder's Justice League

    Zack Snyder's Justice League

    Better than the theatrical by virtue of having an actual tangible narrative and emotional core, but almost as insufferable for its sheer visual and filmic incompetence, a galling and unbearably ugly miasma of clashing textures and practically invisible characters. 

    I fail to see how this is the grand and magnificent improvement that it has been made out to be, as it regularly feels little more than a slapdash glorified rough cut. The increased thematic coherence only makes the wretched aesthetic choices…

  • Justice League

    Justice League

    ½

    A colossal piece of shit beyond even my wildest expectations. This is not even a functional film, it’s closer to an Idiocracy-world parody of a superhero movie. Definitely has me curious for the Snyder cut though, even if it’s a stretch to even find the potential here. Will report back later!

  • Cherry

    Cherry

    ½

    Quite genuinely one of the ten worst movies I have ever seen. Inept, vacuous, and entirely self-defeating, an unwatchable amalgam of cheap references and hollow aesthetic flourishes that are physically painful to watch and reek of self-importance that utterly sinks any and all of the bald-faced and juvenile attempts at projecting a meaningful commentary on the opioid epidemic. On top of all of that, it’s also four days long.